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ill 

I 




































































THE UNEXPECTEDNESS 
OF CATHERINE HENRY 

AN EIGHTH-GRADE PLAY FOR GIRLS 

In Two Acts 


LINDSEY BARBEE 

a 


AUTHOR OF 

''Comrades Courageous” “The Call of Wohelo,” "How Beth Won 
the Campfire Honor ” "Patty Saves the Day,” tc Rescued by 
Radio ” ",Sally Ann Finds Herself ” etc. 



CHICAGO 

T. S. DENISON & COMPANY 

Publishers 


*2 

TO 

. 7 /lor 

THE UNEXPECTEDNESS OF CATHERINE 
HENRY 


FOR ELEVEN GIRLS 


CHARACTERS. 


Thalia. 

Dorothy . 

Eleanor . 

Carolyn. 

Frances. 

Janet. 

Marcella .. 

Jean . 

Laura... 

Miss Miller. 

Catherine Henry. 

School Girls and Bazaar 


. Sophomore audacious 

. Sophomore loquacious 

. Sophomore sagacious 

. Sophomore pugnacious 

. Sophomore mendacious 

. Sophomore vivacious 

.. Freshman ecstatic 

.. Freshman erratic 

. Freshman dramatic 

. Sweet and effusive 

. . .A wee bit elusive 

Guests. . . .Any number desired 


Time —The present. 


Scene —A class room in a girls’ school. 


Time of Playing —About one hour. 


SYNOPSIS. 

Act I.—Saturday morning; before the bazaar. The crea¬ 
tion and christening of Catherine Henry. 

Act II.—Saturday night; the bazaar itself. The sudden¬ 
ness and unexpectedness of Catherine Henry. 

COPYRIGHT, 1924, BY LINDSEY BARBEE 
MADE IN U. S. A. 

AUG 1619^° 68609 

•A” 1, 'VvO | 




















3 


UNEXPECTEDNESS OF CATHERINE HENRY 

STORY OF THE PLAY. 

A group of gay sophomores, preparing for the annual 
Christmas bazaar of the school, in a spirit of merriment 
christen the large rag doll of the doll booth, Catherine Henry, 
in honor of two historic personages who figure conspicu¬ 
ously in a history test. Not content with a mere christening, 
they decide to introduce Catherine Henry as a prospective 
student; to include her in school festivities; to advertise 
her identity to fellow students and to play a joke on the 
freshmen. They do so; and as a result Catherine Henry— 
elusive and yet a real somebody—is elected to the freshman 
debating team, receives an invitation to the freshman- 
sophomore dance; and becomes a member of the dramatic 
club. During the evening, when the bazaar is in full swing, 
the plotting sophomores are aware that their imaginary 
Catherine Henry is mentioned in a casual way that infers a 
real existence. Complications arise, puzzling things happen, 
and—finally—a very-much-alive Catherine Henry appears. 
And as a climax to her exciting career she draws the win¬ 
ning number and claims the original Catherine Henry as 
her own. 


COSTUMES. 

In the First Act the girls appear in plain morning dresses, 
bloomers with middy blouses, etc. In the Second Act simple 
little evening gowns are worn. Thalia is in gipsy costume. 


PROPERTIES. 

Act I. 

An easel, several couch covers and cushions, for Gipsy 
tent. 

Table covered with white for candy booth. Framework 
covered with red and white spirals of crepe paper. 


/ 




4 UNEXPECTEDNESS OF CATHERINE HENRY 

Table covered with white for doll booth. Framework 
adorned with paper flowers. 

Two straight chairs. 

Basket of dolls and plate of sandwiches for Carolyn. 
Large rag doll for Frances. 

Pencil and tablet for Laura. 

Act II. 

Candy for candy booth. 

A few dolls, the rag doll, two boxes, each containing paste¬ 
board slips, for doll booth. 

Popcorn, candy, packages, etc., for the bazaar patrons. 
Money box for Frances. 

Florist box for Marcella. 


SCENE PLOT. 



STAGE DIRECTIONS. 

Up stage means away from footlights; down stage, near 
footlights. In the use of right and left the actor is sup¬ 
posed to be facing the audience. 










THE UNEXPECTEDNESS OF CATHERINE 
HENRY 


Act I. 

The curtain rises upon a scene of disarray. Evidently, 
booths are in the process of construction, and one pre-sup- 
poses that a bazaar is to be the outcome of all the prepara¬ 
tion. A school room is the scene of operations as the black¬ 
board in the rear betrays. A wide archway at the right leads 
into another room and a door at the left communicates with 
an outside hall. At the back of the stage Eleanor, standing 
on a chair, superintends the decoration of an improvised 
booth consisting of small tables covered with white and of a 
framework which is being twined with red and white crepe 
paper. Down left, a similar booth, half adorned with strag¬ 
gling paper flowers, claims Dorothy as its presiding genius. 
While- on the opposite side of the room, Thalia, bearing an 
artist's easel, is standing in a meditative pose as she regards 
a mass of couch covers and cushions on a nearby chair. 

Thalia. I’ll pitch my gipsy tent right here, Dorothy. 

Dorothy. I’m curious to know just how you’ll pitch it. 

Thalia. Easiest thing in the world. (As she sets up the 
easel.) It pitches itself. Then all I have to do is to add 
this—and this —( and, as she talks, she carefully selects two 
of the covers and throws them over the easel) and the deed 
is done. 

Eleanor. But—Thalia! You haven’t used my couch 
cover at all, and you certainly teased and teased and teased 
for it. 

Thalia. Wait just a moment, Eleanor dear. I intend to 
make a rug of it. (And very painstakingly, Thalia moves 
her tent, spreads the cover, and once more erects her struc¬ 
ture upon its added foundation.) I expect to make a lot of 
money by telling fortunes. 

Dorothy (assisting the straggling flowers to attach them- 

5 



6 


UNEXPECTEDNESS OF CATHERINE HENRY 


selves to the framework). You can’t charge more than ten 
cents. It isn’t worth it. 

Thalia. I shall charge the women ten cents and the men 
a quarter. ( Reflectively .) Men can be so much more easily 
separated from their pocket-books. 

Eleanor. But—Thalia! You don’t know a quarter s 
worth of anybody’s future. 

Thalia. Well I know enough to keep them from know¬ 
ing that I don’t know—so what’s the difference? 

Dorothy. You can’t fool men. 

Thalia. Oh, can’t I? (Again she pauses.) Well, it has 
been done. And what has been done can be done again. 

Eleanor. You don’t know the life-line from the heart- 
line. 

Thalia. But I have a good imagination—and that’s that. 

Dorothy. You don’t think for a moment that two of 
you can get into that tent arrangement, do you? 

Thalia. I sit in the tent—so— [she throws a cushion 
inside the tent and with great care wriggles into the in- 
closure) and my victim lounges before me on another- 
cushion. 

Eleanor. Yes, I can just see a fat old man lounging on 
one little cushion. 

Thalia. You’re jealous. 

Eleanor. Why should I be? Everybody comes to the 
candy counter. 

Dorothy. What’s the idea of all your red and white 
spirals ? 

Eleanor. Peppermint candy, of course. [She descends 
from the chair and drops wearily into it.) 

Thalia. I don’t see why you say “of course.” It looks 
quite as much like a barber’s pole. 

Dorothy. There’s nothing—absolutely nothing—in the 
way of decoration that’s appropriate for the doll booth. 

Eleanor. Kewpie roses. 

Dorothy [sarcastically). So easy to make. 

Thalia. Babies’ breath. 

Dorothy. Don’t be silly. 


UNEXPECTEDNESS OF CATHERINE HENRY 


7 


Eleanor ( as she points to Dorothy’s forlorn decora¬ 
tions). Do you mind if I ask what sort of flower it is? 

Dorothy. Morning glory. 

T halia. Departed glory. 

Eleanor. And “morning” ought to be spelled with a “u.” 

Dorothy. Oh, laugh away if it gives you any joy. 
( Petulantly .) Why on earth should the sophomores be re¬ 
sponsible for the doll booth! That is certainly a freshman 
job. 

Thalia. The freshmen have the fancy work—and every¬ 
body knows how much more money fancy things bring in. 
/ think it’s a shame and a slam. 

Eleanor. And it’s made them—oh, just reek with im¬ 
portance. 

Dorothy. They’re uppish little things, anyway. 

Thalia. And they need to be sat upon. 

Eleanor. Then—let’s do it. 

Marcella enters from the archway at the right—a hit tim¬ 
idly. Three sophomores can do — oh, so many things! 

Marcella. Hello! 

Dorothy. Hello, yourself. What do you want? 

Marcella. A hammer. ( She comes to center.) 

Dorothy. And why a hammer ? 

Marcella. Why—why—to hammer with. 

Thalia ( emerging from her tentway). How strange to 
use it that way. 

Marcella. I don’t see why it’s strange. Nobody can 
knock without a hammer. 

Eleanor. Sophomores can. 

Thalia. We were knocking just as you came in. Strange 
you didn’t hear us. 

Marcella. Well, I didn’t. 

Thalia. And we haven’t any hammer, either. So run 
along, Marcella. 

Marcella. But you said you were hammering— 

Thalia. I said—knocking. 

Marcella (bewildered) . Well, isn’t it the same thing? 


UNEXPECTEDNESS OF CATHERINE HENRY 


Thalia. Not always. 

Marcella. But you said— 

Eleanor. We were speaking figuratively, Marcella. 
Sophomores often speak—figuratively. 

Marcella. But—I don’t understand. 

Dorothy. No, dear; you wouldn’t. (She pauses. Then , 
as Marcella lingers.) Sorry you can’t stay. 

Thalia. Ask the dear juniors—the friends who take 
care of you. They use the hammer a lot. 

(And Marcella, after a moment's hesitation, departs 
through the archway at right.) 

Eleanor. We weren’t very nice to her—and she’s a sweet 
child. 

Dorothy. Just the same, she’s a freshman. 

Thalia. And, just the same, it makes me tired to think 
of those old juniors having charge of the tea room. Think 
of all the sandwiches they can sneak—and—why, Carolyn! 

For Carolyn has dashed in from the hallway at left . In 
one hand she carries—very gingerly—a plate of sandwiches; 
over her arm is a basket from which protrude the heads of 
various dollies, all sizes and styles. Depositing her basket 
and her plate on the floor she slams the door and leans 
against it. 

Carolyn. H-u-s-h! The juniors! (As she listens for a 
moment.) ■ They’ve lost the trail. 

Eleanor. What’s happened ? 

Carolyn. Just a little deed of kindness on my part. 

Dorothy. Kindness? You look positively wicked. 

Thalia. Tell us. 

Carolyn. The juniors have the tea room, you know— 

Thalia. Of course we know. Wasn’t I just groaning 
over their chance at the sandwiches ? 

Carolyn. Sandwiches? (Pauses.) Thereby hangs the 
tale. 

Eleanor. Go on. 

Carolyn. They haye placed a big sign over the table— 


UNEXPECTEDNESS OF CATHERINE HENRY 


9 


a mammoth sign—and how do you suppose “sandwiches” is 
spelled ? 

Dorothy. Wrong, of course. 

Carolyn. Wrong? ( Impressively.) It had a “t.” 

Thalia. One naturally thinks of tea in connection with 
sandwiches. 

Carolyn. But that wasn’t the funny part. 

Thalia. Then what was ? 

Carolyn. The fact that the junior president did the 
spelling. 

Eleanor. And the junior president happens to be the 
English teacher’s pet. 

Carolyn. Exactly. ( Pauses .) And then— 

Dorothy. Is there something else? 

Carolyn. Rather. ( With satisfaction.) And then— 

Thalia. Oh, don’t poke. 

Carolyn. I called the English teacher right to the spot, 
and asked her—oh, ever so innocently—if sandwiches had a 
“t.” And with all the juniors looking on! 

Eleanor. How heavenly! 

Carolyn. And then— ( Again she pauses.) 

Dorothy. Carolyn! 

Carolyn. When they weren’t looking I grabbed a plate 
of the sandwiches spelled with a “t” and ran away with them. 

Thalia (gaily). The Queen of Hearts 
She made some tarts. 

All on a Saturday— 

Eleanor (nods). The Knave of Hearts 
She stole the tarts— 

Dorothy (quickly). And bore them quite away! 

Carolyn. Better eat them—quick—before the juniors 
find my hiding place. (As she passes the sandwiches.) 
Just enough to go around. 

(Automatically the girls sit in a circle on the floor. For a 
moment there is silence. Each Columbus is discovering her 
own particular America.) 


10 UNEXPECTEDNESS OF CATHERINE HENRY 


Eleanor ( ecstatically). Nut and cream cheese. 

Dorothy. Pimento. U-m-m! 

Thalia. Lettuce and mayonnaise— 

Carolyn. Brown bread and peanut butter. 

(Again silence. Each sandwich slowly but surely disap¬ 
pears.) 

Eleanor. They taste just as good as if they’d been 
spelled correctly. 

Dorothy. Just the same, I shouldn’t mind having the 
tea. 

Carolyn. Be thankful for small favors. ( As she parts 
regretfully with her last fragment.) They are rather small. 

Thalia {sighing). But they helped us to bear up under 
the strain of the bazaar booths. 

Carolyn. That tent of yours doesn’t look as if it could 
bear up under any strain. 

Thalia. I think it’s very splendid. And when I wear my 
gipsy costume the two of us will be downright stunning. 

Eleanor {sighing). Oh, why do we have to give this 
old bazaar every year! 

Carolyn. Students’ Aid Fund. I should think you’d 
know by this time. 

Dorothy. But why must it come just before Christmas 
when everybody’s busy with her own presents—and looking 
forward to vacation—and— 

Thalia. Lots better to come before instead of after 
Christmas. Suppose we had nothing to look forward to! 

Dorothy. It would be deadly. {As she rises.) Well, we 
might as well get to work. {Lifts the basket of dolls.) 
What luck with collecting dolls, Carol? 

Carolyn. Not many dolls—but lots of promises. 

Dorothy. Promises? It’s too late for promises with the 
bazaar a few hours away. 

Eleanor. Most of the work is done in the last three 
hours. Why, last year, I was working on my doll when the 
bazaar opened. 


UNEXPECTEDNESS OF CATHERINE HENRY 11 


Thalia. That’s nothing. I finished mine just in time to 
see it sold. 

Dorothy. What a pretty baby! ( And she lifts a doll 

from the basket.) 

Carolyn (as she joins Dorothy). That’s the offering of 
the mathematics department. Every stitch is just the same 
distance from every other stitch. One ruffle runs. parallel 
to the other ruffle. And what do you think the thing says 
when you poke it? 

Dorothy. “Ma-ma,” of course. 

Carolyn. Not a bit of it. Listen. (And she demon¬ 
strates.) “Q.E.D.” 

Dorothy. Don’t handle her too much. (And she replaces 
the doll in the basket.) Why, this one hasn’t any dress. 
(And another doll is taken from the basket.) 

Carolyn. One of the seniors did that. She said that 
making the underclothes had given her nervous prostration 
and that making a dress would send her into the infirmary. 

Dorothy. But— 

Carolyn. I couldn’t insist upon her going into the in¬ 
firmary, could I? 

Dorothy (as she places the doll in the basket). But the 
poor thing looks so cold. (Takes out another doll.) Why, 
Carol! 

Carolyn. What’s the matter now? 

Dorothy. This one hasn’t any underclothes. Just a 
dress. 

Carolyn. Connie didn’t have time for anything but the 
dress. 

Dorothy. But— 

Carolyn. Put a card on it, “Do not handle,” and every¬ 
body will want to buy it—without inspection. 

Dorothy (hesitatingly). The dress is lovely. 

Carolyn. Of course it is. (Encouragingly.) You do as 
I say. 

Dorothy (petulantly). Oh, I’m so tired of the whole 
business, and I hate the doll booth, and— (Thrusts the 


12 UNEXPECTEDNESS OF CATHERINE HENRY 


basket into Carolyn’s hands.) Put these silly things back 
of the table and help me finish the decorating. 

Eleanor {rising). You might help me, Thalia. Your 
old gipsy booth doesn’t need you. 

Thalia. Don’t care if I do. I’m so cramped in this 
place that I can’t wiggle. ( And she extricates herself with 
difficulty.) 

Eleanor. Twist this red and white paper around the 
other pole. ( And Thalia falls to work.) Where’s Frances? 

Carolyn. Taking a make-up test. I caught a glimpse of 
her in the study hall. 

Eleanor. Why any teacher should give a test on Satur¬ 
day, and on bazaar day, and— 

Dorothy. Fran’s lucky to get rid of all this bother. Vd 
rather take a test than do what I’m doing. {Pauses.) By 
the way, where is Fran’s doll? 

Carolyn {emerging from back of the table). She’s 
bringing it. It’s a luscious big rag doll and we’re to sell 
chances on it. 

Dorothy. Is it dressed? 

Carolyn. It was dressed when she bought it. 

Dorothy {with a sigh of relief). That helps. I wish 
that all of them could do the Minerva stunt and spring full- 
armored, or whatever it was, into my waiting arms. 

At this moment the left door opens and Frances enters. In 
her arms is a large and floppy rag doll. 

Frances, What happened in the reign of Henry the 
Eighth ? 

Eleanor. Six wives. 

Carolyn {dramatically). 

Henry the Eighth to six spouses was wedded; 

One died, one survived, two divorced, two beheaded. 

Frances. Of course. Everybody knows about the wives. 
But I have a sickening sensation that he did more than listen 
to wedding bells. 

Thalia. He played around with the monasteries. 


UNEXPECTEDNESS OF CATHERINE HENRY 


13 


Frances ( after a moment’s reflection) . Of course he 
did. I remember now. 

Dorothy. And he separated Church and State. 

Frances ( after another reflection) . It all comes back to 
me—too. late. ( Brightens .) Anyway, I mentioned that he 
separated himself from Catherine of Aragon, and one sep¬ 
aration is as good as another. 

Eleanor. Catherine of Aragon. Isn’t it a pretty name? 

Frances. And wasn’t she an old trump not to poison him 
when she had so many chances! 

Dorothy. What would have happened if she had ? 

Eleanor. That’s like asking what would have happened 
if Columbus hadn’t discovered America. 

Carolyn. Or if Sir Isaac hadn’t seen the apple. 

Dorothy. Or if Washington had told a lie. 

Thalia. Nothing nice would have happened. Like mak¬ 
ing history a snap course. 

Eleanor. You don’t know. 

Thalia. Oh, yes I do. Even if one old fellow hadn’t 
done what he did do, there would have been somebody else 
to do something just as bothersome. {Sighs.) I haven’t 
much faith in history’s being made easy. 

Dorothy. Let’s see the doll, Fran. 

Frances - {advancing to center). Isn’t she a beauty? 

{There is a pause.) 

Eleanor. She’s—she’s very nice. 

Dorothy. And she looks as if she had character. 

Thalia. Why don’t you say she’s homely and be honest 
about it? 

Frances. But she isn’t homely. I’ve lived with her for 
three days and she grows beautifuller every day. 

Eleanor. Mother love. 

Frances. Maybe so. But I adore her. Sometimes I 
think {and here she lowers her voice in an impressive way) 
—sometimes I think— 

Dorothy. Think what? 

Frances. That she’s my other self. 


14 UNEXPECTEDNESS OF CATHERINE HENRY 


Carolyn. Your other self ? 

Frances. Exactly. Everybody has another self. 

Thalia. Fran, you’re crazy. 

Frances. You don’t understand. One’s other self is the 
part of her that’s suppressed in real life, the part that does 
things she doesn’t do, the part that dares deeds she doesn’t 
dare— 

Thalia. And you think that this long-legged creature 
dares anything? 

Frances. If she’s my other self she does. 

Eleanor. You talk as if she’s a real person. 

Frances. Let’s make her a real person. 

Thalia. Positively, Frances, anyone would think we 
were little girls with dolls for our only amusement. 

Frances. Wait until you get my point. 

Thalia. Then hurry up with it. 

Frances. We’ll give her a name, enter her in school, and 
then the fun will begin. 

Carolyn. Pm afraid I don’t see. 

Eleanor. Nor I. 

Dorothy. And Pm sure I don’t. 

Frances. Haven’t you people any imagination? 

Thalia. Not so much that we can afford to be careless 
with it. 

Frances. Then listen while I outline my plan. {In the 
meantime all have gathered around her.) A mysterious 
somebody—known to us but to nobody else—right here in 
school—and always just beyond people’s reach. 

Eleanor. You mean that we’ll tell all this? 

Frances. We’ll tell it and we’ll act it. 

Dorothy. We’ll be found out. 

Frances. What if we are? Only two more days until 
Christmas vacation; and by the beginning of next semester 
everybody will just laugh and think it’s a good joke. 

Carolyn {thoughtfully). An imaginary person. 

Frances. Exactly. Lots can be done with an imaginary 
person. 

Thalia. Let’s try it. It would be a lark. 




UNEXPECTEDNESS OF CATHERINE HENRY 15 


Frances. Everybody agree? 

Carolyn. I do. 

Eleanor ( hesitating ). Well, I suppose— 

Frances. Don’t listen to that crazy conscience of yours, 
Eleanor. 

Dorothy. If it’s all right— 

Frances. Of course it’s all right. (Excitedly .) First 
of all we’ll give her a name. ( For a moment there is silence. 
Then Eleanor clasps her hands fervently.) 

Eleanor. Catherine of Aragon! 

Frances. “Catherine” is all right, but “Aragon” won’t 
do. Sounds too historical, and this Catherine is strictly up 
to date. 

(.Another silence.) 

Thalia. What’s the matter with “Henry” for a last 
name? He happened to be Catherine’s husband. 

Frances. The very thing! Catherine Henry. It’s—it’s 
luscious. ( And she places the doll in the chair near the 
candy booth.) 

Carolyn. I begin to see possibilities. 

Frances. Of course you do. And— 

Just what possibilities Frances proposed to outline are 
interrupted by the entrance of Jean. From the archway at 
right she advances into the very heart of the sacred circle. 

Jean. Say, you sophomores— 

Carolyn (as the circle breaks). Well, if it isn’t little 
Jean of the Freshman Class! 

Frances. Be careful, darling, about addressing your su¬ 
perior officers by “Say.” 

Jean. I’m not afraid of you. 

Dorothy (soothingly). Of course you’re not. Why 
should you be? 

Thalia. And what do you want? 

Jean. I want a hammer. 

Thalia. A hammer. Dear me! Are all the freshmen 
after hammers? 


16 UNEXPECTEDNESS OF CATHERINE HENRY 


Eleanor. And didn’t Marcella tell you that we didn’t 
have one ? 

Jean. I’m not on the same booth with Marcella. And 
you were making so much noise in here that I thought you’d 
surely have a hammer. 

Frances. Not all noise comes from knocking, dear child. 

Carolyn. So, run along, and bother somebody else. 

Jean. Guess I’ll have to hurry. ( Importantly.) I’m 
due at a freshman meeting. 

Eleanor. Freshman meeting? On Saturday? 

Jean. It’s a special meeting. Isabel’s gone home sick, 
and we’ll have to choose somebody else for our debate team. 

Dorothy. Oh—the freshman-sophomore debate! Too 
bad you’ve lost Isabel. She was really the best of the lot. 

Thalia. And sophomores are pretty hard to buck against. 

Frances (meditatively). Isn’t it too bad that Catherine 
Henry couldn’t be on your team! 

Jean. Catherine Henry? Who’s she? 

Frances. A freshman. A very unusual freshman. 

Jean. Why, I’ve never heard of her. 

Frances. I don’t suppose you have. She’s just entered. 

Jean. Entered, now? Just before Christmas? 

Frances. Why not? She’s being registered during 
these few days and can start with her classes after vacation. 

Jean ( after a pause). A freshman, you say? 

Thalia. An adorable freshman. I wish she were a 
sophomore. 

Jean. Oh, do you all know her? 

Carolyn. Only slightly. But we all know her by repu¬ 
tation. 

Jean. What do you mean-? 

Dorothy. We know how clever she is, how popular— 

Eleanor. And how she can debate! 

Jean. Debate! 

Eleanor. Why, she has so many medals that you can 
hardly see her blouse. 

Jean (backing off). Guess I’ll be going. (At the right 
door she pauses.) What’s her name? 


UNEXPECTEDNESS OF CATHERINE HENRY 17 


Frances. Catherine Henry. 

Jean ( repeating to herself). Catherine Henry. 

Thalia. And she spells it with a “C.” 

(Jean disappears.) 

Frances. That seed has dropped on fertile soil. 
Dorothy. Oh, it is fun. I didn’t realize how much fun— 
Thalia. And didn’t she fall for everything? 

Carolyn. Even Eleanor’s story of the medals. 

Eleanor. Let’s not tell another person the real truth 
nbout Catherine Henry. 

Dorothy. Hardly. Just we five in the secret; no more. 
Thalia. Catherine for us—and us for Catherine! 
Carolyn ( dramatically ). Then— swear. 

All ( waving their right hands). We swear. 

And during this impromptu oath the left door opens. 
Janet enters. 

Janet. What are you swearing about? 

Frances. Just rehearsing the sophomore oath. 

Janet. Then I ought to be in on it. I’m a sophomore, 
too. ( Links arms with Thalia and Frances.) 

Carolyn. Any one of us will swear to sophomore vic¬ 
tory in the debate, won’t she? ( Sinks on pillow in front 
of the gipsy tent.) 

Janet. Rather. Now that Isabel’s off the freshman team 
it’s easy work for us. 

Eleanor ( returning to her booth). Too bad about Isabel. 
Janet. Well, it’s too bad for me. She was my freshman 
for the dance on‘Monday night. 

Dorothy. Can’t you find another ? (Sits in the chair by 
the tent.) 

Janet. Too late. Every soph is already paired off with 
a freshman. 

Carolyn. There’s Catherine Henry. 

Thalia. The very one. 

Janet. Who’s Catherine Henry? 

Carolyn. A new freshman; just entered. 


18 UNEXPECTEDNESS OF CATHERINE HENRY 

Janet. Funny time to enter. 

Carolyn. Of course I don’t know about that. But J 
do know that she’s pretty attractive. 

Janet. Queer I haven’t seen her in the halls. 

Thalia. Not queer at all. We met her—just by chance. 

Janet. Is she pretty? 

Thalia. Adorable. 

Frances. Why don’t you ask her, Janet? She’d love it. 

Janet. Then I’ll do it. Where shall I find her? 

Frances. Well, I’m not quite sure. ( Meditates .) She 
has outside friends and she’s with them some of the time. 
But— ( Hesitates.) 

Janet. But what? 

Frances. You might put a note on the bulletin board 
for her. 

Janet. The very thing. I’ll attend to it right away. (At 
the hall door.) Where shall I send her flowers? 

Frances. Oh—just here. They’ll reach her all right. 

Janet. See you later, then. (And off she goes through 
left door.) 

Carolyn. Isn’t it all heavenly ? 

Thalia (whirling around the room). I’m having the 
time of my life. 

Frances (busying herself at the doll booth). And even 
1 didn’t think it would be this much of a lark. 

Eleanor. Think of all the disturbance we’re causing. 

Dorothy. There goes your conscience again. 

Carolyn. And think of the mysterious Catherine Henry 
pursued by everybody and slipping away, just as she’s about 
to be caught. 

Thalia. But how long can we put it over? 

Frances. That depends upon how long we can use our 
wits. 

The hall door at left opens and Laura appears, bearing a 
large tablet and an impressive pencil. 

Dorothy. Laura, you’re the third freshman who’s de¬ 
scended upon us. 


UNEXPECTEDNESS OF CATHERINE HENRY 19 


Thalia {sweetly). Looking for a hammer, I suppose? 

Laura. Hammer. Why should I want a hammer ? 

Thalia. I don’t know, I’m sure. But they seem to be 
used instead of freshman rattles. 

Laura {importantly). I’m here on business. {Comes to 
center.) 

Frances. Whose business? {Joins Laura.) 

Laura. Miss Miller’s. 

Frances. Then we’ll have to listen. 

Laura. Miss Miller is organizing a dramatic club, and 
she wants everybody who has any talent to sign up. 

Thalia {taking the pencil and tablet). I’ll sign. I’m 
keen about it. 

Laura {doubtfully). But have you any talent? 

Thalia. I’m a whiz. Ask anybody if you don’t believe 
me. 

Eleanor. I’ll sign too. {And she suits the action to the 
zvord.) I was leading lady last year and that ought to help. 

Laura. Dorothy ? 

Dorothy. No, thanks. I’ve no talent. 

Carolyn. And I’ve no inclination. 

Frances. But I’ll let you bear away my little name if 
you wish. {As she signs.) Girls, I wonder if Catherine 
Henry wouldn’t like to join. 

Laura. Who’s Catherine Henry? 

Frances. A freshman. She’s just entered. 

Laura. I haven’t met her. 

Frances. Only a few of us have had that pleasure. 

Laura. Is she attractive? 

Frances. Oh, so attractive! Nobody would ever take 
her for a freshman. 

Laura. Can she act? 

Frances. Act? Why, my cousin saw her play Rosalind 
and he talks about it to this day. 

Carolyn. And that isn’t all. I heard that she had a 
chance to play*in a real company—a company that goes to 
all the big cities. 


20 UNEXPECTEDNESS OF CATHERINE HENRY 


Laura. Then she would probably turn up her nose at a 
school club. 

Frances. Not much. She isn’t that kind. 

Thalia. I don’t believe that Catherine would like it if 
we didn’t sign her name. 

Frances. Nor I. So I’ll just put it down. (As she 
writes.) She spells it with a “C ” 

Carolyn (holding out her hand). Let’s see who’s signed 
up for this. 

Laura. I can’t wait. The freshmen are having a meeting 
and I want to get in for the last of it. 

Carolyn. Run along, then. 

Laura. I’ll go out this way. It’s shorter. (And she 
crosses to the archway. As she passes the rag doll she 
pauses.) Oh, what an ugly doll. 

Frances. Ugly? That? Why, she’s to be raffled. 

Laura. You don’t mean that anyone would take chances 
on herf 

Thalia. We can’t answer for that. But we do know that 
we’re taking chances with her. (As Laura gases in a be¬ 
wildered way.) No, you don’t understand. I didn’t expect 
you to understand. Good-bye. (And she gently pushes 
Laura through the archway at right.) 

Frances. The plot thickens ! 

Dorothy. It does, indeed. 

Eleanor. And if Miss Miller investigates— 

Frances. There’s no time to investigate. 

Carolyn. For the bazaar is tonight— 

Thalia. The sophomore-freshman dance is on Monday— 

Dorothy. And the next day we go home! 

Eleanor. But Sunday comes in between—and lots of 
things can happen on Sunday. 

Carolyn. The better the day, the better the deed. 

Thalia. And I’d advise you to chloroform your con¬ 
science, Ellie. 

(There is a sound of distant applause at right.) 

Dorothy. What’s that ? 


UNEXPECTEDNESS OF CATHERINE HENRY 21 


Thalia. Probably the freshmen. 

Carolyn ( scrambling to her feet). Then I’ll see wha, 
it’s all about. ( Off she goes through the archway at right. ) 
Eleanor. We really must get to work. Come, Thalia 
(And a reluctant Thalia once more twines red and white 
crepe paper.) 

Dorothy (crossing slowly to the doll booth). I haven’t 
enough dolls to make a showing. 

Frances. More will come in. 

Dorothy. And I don’t see how I’ll find time to finish up 
these half-dressed things. 

Frances (bearing the rag doll triumphantly to the booth) 

I insist upon my other self having the center of the stage. 

And at this point Carolyn rushes in from the archway at 

right. 

Carolyn. Girls! 

Dorothy. What’s happened ? 

Carolyn. The freshmen have just elected Catherine 
Henry to the debating team. Catherine Henry! 

(Frances tosses the doll aloft and rushes to the center.) 

Frances. Oh, Catherine Henry—Catherine Henry! How 
many crimes are committed in your name! 

(And as the girls laughingly gather around her —) 

The Curtain Falls. 


THE UNEXPECTEDNESS OF CATHERINE 
HENRY 


Act II. 

The curtain rises upon a transfigured stage; for the booths 
have been finished and the bazaar is in progress. Thalia, 
charming in her gay gipsy dress, is telling the fortune of 
Miss Miller who sits before her. Frances, on a low stool 
near the doll booth, is counting the money which she and 
Dorothy have gathered into the till box. And Dorothy 
herself is negotiating a sale with a group of gay young things 
adorned with popcorn bags, candy canes and the various 
spoils which distinguish the Christmas bazaar. As she de¬ 
livers the package into the hands of the purchaser, the group 
joins a similar group at the candy counter, and, all together, 
after much laughing and joking, they pass through the arch¬ 
way at right into the next room. Eleanor hastily straightens 
her disordered table and hurries to Dorothy and Frances. 

Eleanor. Eve just about sold out everything*. 

Dorothy. So have we. How much money, Fran? 

Frances. Twenty-five dollars—and almost ten dollars 
from chances on Catherine Henry. 

Eleanor. That’s pretty good. Did you sell the doll with¬ 
out a dress? 

Dorothy. The girl who half-dressed it bought it back. 
Guilty conscience, I suppose. 

Eleanor. And what became of the one without any un¬ 
derclothes ? 

Dorothy. First one to go. I marked her “Please don’t 
handle” and everybody wanted her. 

Frances. Just the same, you didn’t hear what the happy 
recipient said when she discovered the fraud. 

Dorothy. I don’t care what she said. This is a bazaar; 
and everybody knows that a bazaar is a den of thieves. 

22 



UNEXPECTEDNESS OF CATHERINE HENRY 23 


Eleanor. Oh, I am so tired that I can hardly wiggle. 

Frances. Who isn’t, I’d like to know. ( Pats the rag 
doll's limp arm.) Except Catherine Henry. She looks as 
fresh as the morning star. 

Eleanor. Has anybody said anything about—the other 
Catherine Henry ? 

Dorothy. We haven’t had time to listen. 

Frances. Or to boost her cause. 

(And at this point Miss Miller rises.) 

Miss Miller {to Thalia). Many thanks, my dear. If 
you have bestowed such alluring futures as mine upon your 
other patrons, much silver must have crossed your palm. 

Thalia. Oh, but not everyone deserves such a future as 
yours, Miss Miller. 

Miss Miller. You’re a sly little gipsy, I’m thinking. 
Was it your own imagination that prophesied such happy 
days for me ? Or did the lines themselves tell the story ? 

Thalia {laughingly). Both. 

Eleanor. I don’t doubt that the fates intend to be verv 
kind to you, Miss Miller, but I think it’s only right for you 
to know that. Thalia doesn’t know one thing about palmistry. 

Miss Miller. Just the same, she has a way of convinc¬ 
ing her victim. And that’s all that’s necessary in a fortune 
teller! {Crosses to the doll booth.) 

Frances. Anything we can do for you in the doll line? 
Only a few left for adoption. 

Miss Miller. I’ve already adopted two, and have taken 
five chances on your rag beauty. Haven’t I done my duty ? 

Dorothy. You have, indeed. 

Eleanor. And I’ve sold you enough candy to start a 
dreadful case of indigestion. 

Miss Miller. With that cheerful thought to accompany 
me I’ll find my way to the other room. A young friend will 
be waiting for me. 

Thalia. Has she had her fortune told? 

Miss Miller. Not yet—but soon. I want her to meet 
all of you. {As she gazes into the other room at right.) 


24 UNEXPECTEDNESS OF CATHERINE HENRY 

Everybody seems to be assembling at a given point. 
(Pauses.) Oh, some music! Shall we help to make the 
audience ? 

Thalia. Can’t leave my post. 

Eleanor. I’m too tired. 

Dorothy. I’d rather listen from here. 

Frances. And I refuse to desert the money box. 

Miss Miller, Then I’ll leave you to your own devices. 
(And she goes out the archway at right.) 

Thalia. I’ve a suspicion that we’re about to listen to 
the musical senior. 

Eleanor. Who will render “Sunbeams,” the one and 
only number on her repertoire. (As the first chords are 
struck and the first words become audible.) There! What 
did I tell you? 

Dorothy. How does it happen that she is always on the 
program ? 

Frances. Happen? Have you forgotten that father has 
a big bank account and that there are two younger sisters 
who, in the process of time, will need educating? (Laughs.) 
Happen? Why, there’s every reason for its happening. 

Carolyn appears at the archway at right. 

Carolyn. I knew I shouldn’t find you—listening to— 
that. 

Thalia. Well, hardly. Shut the outer door so we can’t 
hear it. (And Carolyn disappears. The closing of a door 
is heard, and back she comes.) Well, what did you find out? 

Carolyn. Not much of anything—but a little of some¬ 
thing. (And she seats herself in the chair by Thalia’s 
tent.) 

Eleanor (crossing and settling herself on the cushion). 
Just what do you mean? 

Dorothy (cuddling up to Eleanor). Use words of one 
syllable, please. I’m too tired to follow you unless you do. 

Frances (as she moves her stool a little closer and perches 
thereon) . And, first of all, give us the latest bulletin about 
Catherine Henry. 


UNEXPECTEDNESS OF CATHERINE HENRY 25 


Carolyn. The latest bulletin was issued just outside that 
door (and she points to the right) when I went to close it. 

Thalia. Broadcast it, then. 

Carolyn. That funny little freshman—oh, I can’t re¬ 
member her name—the one whose eyes are black until you 
get close to her and then they are blue— 

Dorothy. We know her. Go on. 

Carolyn. Well, just as I reached the door she was say¬ 
ing—oh, very importantly—“Catherine Henry will do it. I 
know she will.” 


Frances. 

somebody. 

Carolyn. 

Frances. 

Carolyn. 

Frances. 

Carolyn. 


That’s good. Catherine has become a real 


But she’s a little too real. That’s the trouble. 
How could she be too real? 

Well, she could. 

And why should you say “That’s the trouble” ? 
Because the moment she becomes too promi¬ 
nent— ( hesitates ) well— 

Frances. It’s too late to bother about that . Her elec¬ 
tion to the debating team has put her into the public eye. 

Dorothy. Isn’t it fun to have a hand in choosing candi¬ 
dates? I’m going to be-a politician. 

Eleanor. But what else did you hear? 

Carolyn. One of the sophomores said to another one, 
“Isn’t Janet the luckiest thing? She has Catherine Henry 
for the dance.” 


Frances. Well, Janet does have her for the dance. 

Carolyn. Of course. But they spoke as if they had 
really met her. It gave me the creeps. 

Frances. Anything else? 

Carolyn. Yes. I passed a group of faculty members, 
and I distinctly heard one of them say “Catherine Henry.” 

Frances. What of that? I think we’re pretty clever to 
juggle the faculty wits. 

Carolyn. But suppose the faculty decides to juggle us. 

Frances. We’ll bob up serenely. Even the faculty loves 
a joke. 

Eleanor. I’m not so sure. 


26 UNEXPECTEDNESS OF CATHERINE HENRY 


Frances. But I am. 

Eleanor. And I can’t help wishing that Catherine Henry 
would stay outside of faculty circles. 

Dorothy. For it would be pretty tragic to start some¬ 
thing that we couldn’t stop. 

Frances. Anything can be stopped. } 

Thalia. Of course it can. Don’t you bother, Fran. I’m 
with you, and we’ll give Catherine Henry the rush of her life. 

Marcella enters from the archway at right, bearing a large 
florist's box. 

Dorothy. Now, Marcella, haven’t we told you that we 
don’t possess a hammer?. 

Marcella. I don’t want a hammer. ( Impressively .) I 
am looking for Catherine Henry. 

Eleanor. Catherine Henry? Isn’t she in the other room? 

Marcella. She was, but she isn’t. 

Carolyn. What do you mean by that ? 

Marcella. Just what I say. I thought maybe she would 
be with you people, since you’re all such friends. 

Frances. What do you want with Catherine Henry? 

Marcella. These flowers are for her. They’ve just come 
to the office. 

Thalia. Well, we haven’t seen her—lately. So you’d 
better run along. 

(Marcella crosses to the archway and turns.) 

Marcella. Catherine Henry is certainly the sweetest 
thing. {And she goes out at right.) 

Carolyn {rising and pacing nervously up and down). 
Now—what do you think of that? 

Frances. We’re getting results. That’s all. 

Eleanor. But the flowers. Somebody has sent them. 

Frances. Janet, of course. 

Dorothy. And Marcella spoke as if she had really seen 
her. 

Thalia. Oh, no, she didn’t. Why shouldn’t she think 
that Catherine would be in the other room with the crowd ? 


UNEXPECTEDNESS OF CATHERINE HENRY 27 


Frances. And why shouldn’t she speak of her as “the 
sweetest thing”? We’ve certainly advertised her enough. 

Thalia. I wonder if anybody else wants her fortune told. 

Eleanor. Miss Miller’s friend. She’s coming later. 

Thalia. Well, I can’t stand this cramped position an¬ 
other moment. ( And she emerges.) My, but it’s good to- 
expand! Come, Carol, help me limber up. (And, together, 
they dance gaily around the stage.) 

Dorothy. Run to the door, Ellie, and see if the music 
has stopped. If it has, we’d better get back to our jobs. 

Eleanor. Surely they haven’t encored her again. (And 
she hurries through the archway.) 

Frances. Let’s close up shop anyway, Dotty, and have 
some fun in the other room. 

Eleanor returns through archway at right. 

Eleanor. She’s stopped, all right, and the crowd is scat¬ 
tering. Maybe a few will come our way. (And she goes 
to her booth. Dorothy rises languidly as —) 

Jean rushes in from the hall at left and slams the door 
behind her . 

Carolyn. Gracious, what’s the hurry? 

Thalia. You know very well that we haven’t any ham¬ 
mer. 

Jean. Hammer? I don’t see why you’re always talking 
about a hammer. ( Importantly.) I am looking for Cath¬ 
erine Henry. 

Frances. Everybody’s looking for Catherine Henry. 

Eleanor. Try the other room. 

Jean. She isn’t there. And I thought she’d be with you 
people, since you know her so well.. 

Dorothy. What do you want with her ? 

Jean. Telephone call. (Crosses the room.) I’ll look out 
here. (And she turns.) We’re all crazy about Catherine 
Henry. 

Thalia. Oh, you are! 

Jean. And she says she’ll be on the debating team. 
(Away she goes through archway at right.) 


28 UNEXPECTEDNESS OF CATHERINE HENRY 


Carolyn. Did you hear that? “She says.” {Crosses to 
the doll and shakes her vigorously.) What does Catherine 
mean by saying - anything? 

Frances (yawning). Jean’s tongue is twisted. It’s al¬ 
ways twisted. 

Eleanor. But she acts as if she had really seen Catherine 
Henry. I’m like Carol. It gives me the creeps. 

Unconsciously they all group together. Janet, entering 
suddenly from left, slams the door behind her. The girls 
spring apart and Carolyn stifles a little shriek. 

Dorothy. Good gracious, Janet. How you startled us! 

Janet. I don’t see why. All of you act as if you had 
guilty consciences. 

Frances. Don’t be silly. 

Janet. And every time I appear I find you all huddled 
together, whispering, and acting suspicious. 

Thalia. That’s a nice thing to say about us. 

Janet. I’m just giving my impressions, that’s all. (As 
she looks around.) Did I leave my handkerchief here? 

Eleanor. Don’t know, I’m sure. All lost articles are 
behind my booth. 

Janet (investigating). It’s not here. 

Carolyn. Rather previous with your flowers, weren’t 
you? 

Janet. Previous? What do you mean? 

Carolyn. Sending flowers to Catherine Henry two days 
before the dance is a bit previous. 

Janet. But I haven’t sent her any flowers. 

Dorothy. You haven’t? 

Janet. Certainly not. What makes you think I have? 

Dorothy. Marcella was hunting for her—and it was a 
big box— 

Janet. I don’t doubt it. Catherine is pretty popular and 
I seem to have rivals. 

Frances. Rivals? 

Janet. Of course. She is my girl for the dance, as you 
ought to know since you suggested her. 


UNEXPECTEDNESS OF CATHERINE HENRY 29 


Thalia. But— rivals? 

Janet. Everybody else wants her. You did me a good 
turn when you gave me the first chance. 

Frances. Is she as attractive as all that? 

Janet. Attractive? She’s a peach. ( Crosses to arch¬ 
way:) Well, I’ll ask Catherine if she has the handkerchief. 
We’ve been together a lot and I may have left it with her. 
(.And off she goes, right.) 

Eleanor ( tragically ). Did you hear that? 

Dorothy. I certainly did. And I don’t like the way 
things are going. 

Carolyn. Something’s wrong. 

Thalia. Wrong? You mean right. I can’t see how any 
plan could have worked out more marvelously than this— 
suddenness—and unexpectedness—of Catherine Henry. 

Carolyn. There’s a snag in the machinery, just the same. 
(As Thalia protests.) Oh, you know there is! How do 
you account for their talking with her—and walking with 
her—and raving over her—and— 

Frances. Wait a moment. I think I’m beginning to un¬ 
derstand. 

Carolyn. Well I’m glad that somebody understands. 

Frances. We are being paid in our own coin. (Uncon¬ 
sciously she shakes the money till.) 

Eleanor. And just what is that? 

Frances. They’ve caught on to our little joke, that’s all. 
(Reflectively.) I didn’t give them credit for being that 
quick-witted. 

Dorothy. How could they know? We’ve been too clever 
about it. 

Frances. But they’ve suspected something, and they’ve 
compared notes. 

Carolyn. And have decided to rattle us. I see. 

Eleanor. But I don’t see. 

Frances. They’ve turned the tables, Ellie. They’re pre¬ 
tending that there really is a Catherine Henry, and they’re 
daring us to go on with it. 

Thalia. We’ll take the dare, all right. Our wits are just 


30 UNEXPECTEDNESS OF CATHERINE HENRY 


as keen as their wits; and the first freshman that crosses 
our path— 

She ceases abruptly. For Laura has appeared in the arch¬ 
way at right. 

Laura. I am looking- for Catherine Henry. 

Frances. Of course you are. Everybody is. 

Laura. There’s to be a meeting of the Dramatic Club 
on Monday morning and I wanted her to know about it. 

Eleanor. You had no trouble persuading her to be a 
member- did you? 

Laura. Oh, no. She jumped at the chance. {Pauses.) 
Fran, your cousin was all wrong about her playing Rosalind. 

Frances. Maybe it was Cleopatra. I always get them 
mixed. 

Laura. It was not. Why, she’s never had a big part in 
all her life. 

Frances. She’s just being modest. 

Laura. Oh, no, she isn’t. And Carol, no company—not 
even a little bit of a company—has asked her to go to all 
the big cities. 

Carolyn. Then there must be two Catherine Henrys! 

Laura. She can’t understand how such a report has ever 
been spread. 

Carolyn {with dignity). Is it possible that anyone is 
doubting my word ? / 

Laura. Oh, I don’t mean it that way. But Catherine— 

Frances. Now, Laura, you can’t tell us anything about 
Catherine. 

Laura. And I don’t think she can tell me anything about 
you. 

Frances. What do you mean? 

Laura. I said something about your adding her name to 
the list for the dramatic club, and she didn’t act as if she 
knew you. 

Frances {yawning). Catherine isn’t very peppy about 
things. 

Laura. Oh, but she is. 


UNEXPECTEDNESS OF CATHERINE HENRY 31 


Frances. We shall not discuss the subject any further. 

Thalia. And you’ll probably find Catherine in the other 
room. (As Laura lingers.) Good-bye. (Whereupon 
Laura reluctantly withdraws, right.) 

Frances. Well, she didn’t get much satisfaction out of us. 

Dorothy. And I can’t see that we got much satisfaction 
out of her. 

Thalia. They’re playing their game pretty well. 

Carolyn. So well that it doesn’t seem a game. 

Eleanor. And when they begin to talk about Catherine 
Henry just as if she is a real person— (She hesitates.) 
Girls! 

Frances. What is it? 

Eleanor. Do you suppose that she is a real person? 
Right here they are aware that Miss Miller is standing in 
the archway at right. 

Miss Miller. The faithful five, still at their posts. I 
call it true devotion to the sophomore cause. 

Thalia (coaxingly). Another fortune, Miss Miller? 
(Sits on the cushion.) 

Eleanor. Or some candy? (Crosses to booth.) 

Dorothy (behind her counter). Oh perhaps—a doll? 

Miss Miller. Begone, you money-changers! 1 have 

hardly enough cash to pay my way to the station. 

Frances. But surely you’ll take another chance on my 
doll. Only twenty-five cents! (Stands by Dorothy.) 

Miss Miller. I can’t resist you, Frances. Here’s my 
last quarter. (And she explores the depths of her dainty 
bag.) And I’ll present this chance to my friend. (She 
crosses to Frances, who presents her with a bit of paste¬ 
board from a nearby box. Miss Miller turns.) Come here, 
my dear. 

Then, into the room from the archway at right walks a 
most bewitching little somebody—daintily gowned, pleasantly 
smiling and wearing a charming corsage bouquet. 

Miss Miller. Here’s a chance on the lovely dolly that 
graces the center of the table. Let’s hope that you will hold 


32 UNEXPECTEDNESS OF CATHERINE HENRY 


the lucky number. ( And she hands the bit of pasteboard to 
the newcomer.) Now it is time for you to meet these five 
good sophomores, and I’ll call their names for you. First 
names only—for with schoolgirls last names don’t count. 
(As she calls the names the girls step forward.) Eleanor 
—Dorothy—Thalia—Carolyn—and last but not least, 
Frances. And, girls, this is—Catherine. The little sister 
of my very good friend who went through college with me. 
Why, I feel that she belongs to me! 

Eleanor (choking with emotion). And she’s really com¬ 
ing here to school? 

Miss Miller. She really is. Stopped off these few days 
just to escort me home. For I’m spending my Christmas 
vacation with her family. (Laughingly.) After Christmas 
she’ll be one of you. (Goes to the door at left.) I have a 
conference with an irate parent so I’ll leave you .girls to be¬ 
come acquainted. (Out she goes, left.) 

(There is a momenfs awkward silence. The newcomer ap¬ 
pears a bit bewildered.) 

Dorothy (with hesitation). Even if we aren’t paying at¬ 
tention to last names do you mind telling us what yours is? 

Catherine. Why, no, of course not. It’s Henry. Cath¬ 
erine Henry. 

Carolyn (almost tragically). And do you spell it with 
a “C”? 

Catherine. Why, yes, I do. (As she gazes at the con¬ 
sternation depicted on the faces around her.) Why—why, 
what is it? 

Thalia. You mean to say that you are Catherine Henry? 
Catherine Henry? 

Catherine. Why, yes; of course I am. (In bewilder¬ 
ment.) Oh, what is the matter? I’ve felt all evening that 
something was—well, not wrong—-but queer. 

Frances. Something is. But we’ll tell you all about it. 
(Catches Catherine’s hand.) Shall we put her in the seat 
of honor, girls? 

Eleanor. Of course. Here it is. (And she thrusts a 


UNEXPECTEDNESS OF CATHERINE HENRY 33 


chair into the middle of the room and gently pushes the 
bewildered Catherine into■ its depths.) You begin the 
story, Fran. 

Dorothy. For it’s really the very best story I’ve ever 
heard. 

Carolyn. You mean the ending is. 

( The girls sit on the floor around the chair, with Catherine 
as the central figure.) 

Frances ( on her knees as she talks). Well, you see, this 
afternoon—when we were all together here—we decided to 
name our rag doll—Catherine Henry. 

Catherine. But why should you name her Catherine 
Henry? 

Frances. Because I’d been taking a history test about 
Henry the Eighth and Catherine of Aragon. Oh, you know ! 

Catherine. Yes, yes. Go on. 

Thalia. And after we had named her, we decided that 
it would be such a lark to make her an imaginary person— 
an imaginary person that’s real. Oh, you understand! 

Catherine. Of course. And did you ? 

Carolyn. Did we? We told everybody that she was a 
freshman; that she would enter school after Christmas; and 
—oh, it was the most fun! 

Catherine. Of course it was. ( Pauses; then, excited¬ 
ly.) Did you put me on the debating team? 

Dorothy. We suggested. The freshmen did the rest. 

Catherine. And how did I happen to be invited to the 
sophomore-freshman dance? 

• Eleanor. Janet needed a girl. We told her about you, 
and—oh, you can’t imagine what a lark it was! 

Catherine. Oh, but I can! And how I wish I could 
have been in it! 

Dorothy. In it! You’ve been in it more than anybody 
else. 

Carolyn. And when Laura came in with the list for the 
dramatic club, Fran couldn’t resist signing your name. 

Catherine. It’s all—simply heavenly! 


34 UNEXPECTEDNESS OF CATHERINE HENRY 

Frances. So you see just how important a person we 

made you. , 

Catherine. Don’t I, though? It’s been frightfully hard 

to live up to all that importance. 

Thalia. Tell me. Do you debate? 

Catherine. Just a little. 

Eleanor. And I told them that you had so many medals 
that they almost covered your blouse. 

Catherine. Oh, how funny! 

Dorothy. And are you fond of dramatics? 

Catherine. I’ve done only wee little parts. And some¬ 
body said that somebody had seen me play Rosalind. 

Frances. I was the author of that. My cousin had told 

me. , 

Catherine. And when Janet asked me for the dance 
and took everything as a matter of course, I well, I just 
couldn’t understand. 

Carolyn. We thought that Janet had sent the flowers. 
Catherine. No ; my brother. He’s at Yale. 

Eleanor (sighing). So that mystery is solved! 
Catherine. You can’t imagine what a strange evening 
I’ve had. I didn’t know a single girl, and yet so many 
seemed to know me. I didn’t expect any real attention, and 
yet I’ve been showered with nice things. Nobody explained 
and I didn’t like to ask questions. 

Thalia. We’ve had a strange evening, too. When we 
heard the girls talk about Catherine Henry just as if she 
were a real person— 

Carolyn. It gave us the creeps. It really did. 
Frances. And we had just concluded that they were all 
setting a trap for us —when the real Catherine Henry ap¬ 
peared 

Catherine. The unexpected Catherine Henry, Fd call 
her. 

Miss Miller opens the left door and enters. 

Miss Miller. Evidently it doesn’t take long for you 
people to get acquainted. 

(The girls rise.) 


UNEXPECTEDNESS OF CATHERINE HENRY 


35 


Catherine. We’ve been acquainted—for years. 

Thalia. Haven’t we, though? {And, arm in arm, she 
and Catherine stroll to the hack of the stage.) 

Janet hurries through the archway from right. 

Janet. Thalia, what right have you to monopolize my 
girl? ( And she joins them.) 

And the three freshmen —Jean, Marcella and Laura— 
are next to enter from right. As if a bit doubtful of their 
zvelcome, they do not advance from the archway. 

Jean. Fran, isn’t it time for the drawing? 

Frances (as she takes the rag doll). The drawing? For 
Catherine Henry? 

Jean. The drawing; for the doll, of course. 

Frances. Same thing. 

Jean. I don’t see why it’s the same thing. 

Frances. She wouldn’t, would she, Catherine? (And 
Catherine shakes her head smilingly.) 

Marcella. How are you to draw the winning number? 

Frances, We’ll let Miss Miller do it. 

Miss Miller. And just how am I to do it? 

In the meantime the other school girls and bazaar guests have 
crowded into the room. 

Frances. Draw out these duplicate numbers, and one of 
them—whichever one you say—will be the lucky one. (And 
from behind the booth Frances takes a small box.) 

Miss Miller. Which number shall it be, girls? I’ll give 
you the privilege of. choosing. 

Laura. Let’s have seven. Seven is the perfect number, 
Miss Miller. 

Miss Miller. Then seven it shall be. (As she looks 
around.) Nobody objects? (Nobody objects. Accordingly, 
from the little box full of numbered pasteboard slips, Miss 
Miller draws. As she draws she counts.) One—two— 
three —four—five—six—seven. Now! We’ll see which 
number wins. (Turns the card.) Forty-one. Does any¬ 
one in the room hold forty-one? 


36 UNEXPECTEDNESS OF CATHERINE HENRY 


(There is a moment of silence. Each girl closely scru¬ 
tinises her own particular number. Then Catherine steps 
forward.) 

Catherine. Why, I have forty-one! 

T halia. Really ? 

Eleanor. How perfectly wonderful! 

Dorothy. And how perfectly—funny ! 

Carolyn. Then—the doll is yours. 

(Frances, with the doll in her arms , steps forward.) 

Frances. Catherine Henry, allow me to present to you 
—the original Catherine Henry! 

And the Curtain Falls. 


DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free 


FARCES, COMEDIETTAS, Etc. 
Price 25 Cents Each 

M. F. 


Aunt Matilda’s Birthday Party, 

35 min. 11 

Borrowed Luncheon, 20 min.. 5 

Bread. Butter and Romance, 

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Easy Terms, 25 min. 2 1 

Fun in Photo Gallery, 30 min.. 6 10 
Getting Rid of Father, 20 min. 3 1 

Goo-Goo, 20 min. 3 2 

Goose Creek Line, 1 hr. 3 10 

Great Pumpkin Case, 35 min.. 12 
Hans Von Smash, 30 min.... 4 3 
Irish Linen Peddler, 40 min... 3 3 

Irish Stew, 1 hr.6 4 

Just Like a Woman, 35 min... 3 3 

Me and Betty, 30 min. 2 5 

Men Not Wanted, 30 min.... 8 

Mrs. Hoops-Hooper and the 

Hindu, 35 mm. 12 

Mrs. Jenkins’ Brilliant Idea, 35m. 8 

Mrs. Stubbins’ Book Agent, 30 m. 3 2 
Mrs. Sullivan’s Seance, 30 min. 6 

Not a Man in the House, 40 m. 5 
Pat’s Matrimonial Venture, 25 

min. 1 2 

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Sewing for the Heathen, 40 

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Spirits and Spooks, 35 min.... 5 1 

Taking Father’s Place, 30 min. 5 3 

Teacher Kin I Go Home, 35 

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Too Much of a Good Thing, 45 

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Two Ghosts in White, 20 min.. 8 

Uncle Dick’s Mistake, 20 min.. 3 2 

Who Am I? 15 min.1 3 

Whole Truth, 40 min. 5 4 

Who’s Crazy Now? 25 min.... 3 2 

Who’s the Boss? 30 min.3 6 

Wrong Baby, 25 min. 8 


FARCES, COMEDIETTAS, Etc. 
Price 15 Cents Each 


* Assessor, The, 15 min... 

Before the Play Begins, 15 

min. 

Billy’s Mishaps, 20 min. 

Country Justice, 15 min...... 

Family Strike, 20 min. 

For Love and Honor, 20 min,. 
Fudge and a Burglar, 15 min.. 
Great Medical Dispensary, 30 m. 
Initiating a Granger, 25 min.. 
Kansas Immigrants, 20 min... 

Pair of Lunatics, 20 min. 

Second Childhood, 15 min.... 
Smith’s Unlucky Day, 20 min.. 
That Rascal Pat, 30 min. 


3 2 

2 1 

2 3 
8 

3 3 
2 1 

5 

6 

8 

5 1 
1 1 
2 2 
1 1 

3 2 


M. F. 

Those Red Envelopes, 25 min.. 4 4 


Troubled by Ghosts, 10 min... 4 
Two Aunts and a Photo, 20 m. 4 

Wanted: A Hero, 20 min. 1 1 

Wide Enough for Two, 45 min. 5 2 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min.1 1 

Arkansaw Swap, 15 min.2 

At Harmony Junction, 20 min. 4 

Between Trains, 15 min. 1 1 

Deviled Crabs, 15 min........ 1 1 

Do Your Worst! 20 min.3 2 

Filming of “Uncle Tom’s 

Cabin,” 25 min. 4 4 

Foiled, By Heck! 35 min.3 3 

Hey, Rube! 15 min. 1 

I’m a Nut, 10 min,. 1 

Irish Alibi, 20 min. 1 2 

It Might Happen, 20 min. 1 1 

Little Red School House, 20 m. 4 
Marriage and After, 10 min.. 1 
One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 min.2 

Pete Yansen’s Gurl’s Moder, 10m. 1 
School of Detecting, 15 min... 2 

Si and I, 15 min. 1 

Special Sale, 15 min.2 

Stage Struck, 15 min.. 2 

Street Faker, 15 min.3 

Such Ignorance, 15 min.2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min. 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubles of Rozinski, 15 min.. 1 
Vait a Minute, 20 min. 2 

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Price 25 Cents Each 

Almost an Actor, 20 min. 2 

Awful Appetite, 15 min....... 2 

Axin’ Her Father, 25 min.2 3 

Battle of Rollin’ Bones, 30 min. 8 

Black Recruit, 15 min. 2 

Black Vamp, 15 min. 2 2 

Booster Club of Blackville, 25 

min. 10 

Cash Money, 20 min. 3 

Colored Honeymoon, 25 min... 2 2 

Coon Creek Courtship, 15 m... 1 1 
Coontown Thirteen Club, 25 m.14 

Dark Secret, 30 min. 4 1 

Fu’st Aid to Cupid, 20 min... 3 2 
Good Mornin’,.Judge, 35 min.. 9 2 

Hungry, 15 min. 2 

Kiss Me, Camille, 20 min.2 1 

Lend Me Fo’ Bits, 15 min.... 2 
Mysterious Suitcase, 15 min... 2 

Oh, Doctor! 30 min.6 

They’re In Again, 15 min.... 


A great number of Plays 
not found here are listed in 
Denison's Catalogue 


T.S. DENISON & COMPANY, Publishers, 623S.Wabash Ave..Chicago 


—824 


cots) 
































































The Baby Show at Library of congress 

By Nettie H. Pelham. A musical play for l! —. 1 

with speaking parts and 12 others in choruses, 
maid is the judge; the other girls, carrying dolls, 
thinks her baby should win, and the judge is nea 
the winner. 


I 


The Boy Scout 



0 018 604 683 3 


By Edwin Puller. Comedy-drama in 2 acts nme, l k /z hours. 

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_ Price, 25 Cents. 

The Call of Wohelo 

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_ Price, 25 Cents. 

Comrades Courageous 

By Ltndsey Barbee. Eighth grade, play in 2 acts; 6 boys, 4 girls. Time, 
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A Street Boy’s Honor 

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How Beth Won the Camp Fire Honor 

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Patty Saves the Day 

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Sally Ann Finds Herself 

By Lindsey Barbee. For grade school ages, in 2 acts; 4 boys, 5 girls. Time, 
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T. S. DENISON & COMPANY, Publishers, 623 South Wabash Avenue, CHICAGO 


























